Adam Schmitt began the 1990s with two records on Warner Brother/Reprise and great national press from the likes of Rolling Stone, Billboard, Hits, Trouser Press Record Guide, Request, etc. Everyone keyed on the shy, 23-year-old wunderkind angle. After Warner Brothers passed on the opportunity to release a third CD, Schmitt retreated to his home studio - much of the gear was purchased with his recording and publishing advances - to record other acts. Many of those albums comprise the early Parasol record label catalog. In between his engineering/production sessions (including tracks/albums for Tommy Keene, Hum, Robynn Ragland) Schmitt continued to write and record his own demos. He had a standing offer from Parasol label head, Geoff Merritt, to release anything he wanted.

In late 1998 Schmitt set about compiling songs for what was to be his third album, the prospective Parasol Records release, “The Race of All Races.” The plan: as he transferred songs from his 24-track analog tapes to his new ADAT machines he would “clean up” a few tracks. One quick fix led to another and soon enough it was 1999 and Schmitt had re-titled the album “Treefalling.” More production jobs intervened, new songs were written, and pressure to deliver an adequate follow up to his critically acclaimed major label releases mounted.

At the end of 2000 Schmitt released the self-imposed pressure. He decided to go back to his original set of songs, give 10 of them a fresh mix, and release them under a new title, “Demolition.” And here it is. 10 songs written, recorded and mixed at Schmitt’s home studio between 1993 and 2001. And if “Demolition” goes well, we know that there are seven or eight more volumes where this came from.